Ty Segall: "It #1"

Ty Segall is too cool for school.

At 17 years old, while still in high school, he and his band, Epsilons, recorded two frenzied electro-garage free-for-alls for Los Angeles’ Retard Disco Records. With their frantic live shows, they made an impact on LA’s all-ages live-music scene.

“With the Epsilons, we really had no idea what we were doing,” Segall says. “We couldn’t tour for over a year because we were all underage. It was kind of an experiment of a band. We all learned together as we went, but had lots of happy accidents.”

But soon, nationwide touring followed (over spring and summer break, of course), including shows alongside garage-punk stalwarts like Jay Reatard.

“My mom is a bit of a worry worm,” Segall says. “But she’s the most wonderful and caring person I know. It’s a parent’s place to worry when their kid’s out on the road playing shows, but they trust me, and they got used to it eventually. Now it’s no big deal.”

But like high school, that’s in the past. Epsilons called it quits, and Segall went solo to college in San Francisco. He hasn’t kept quiet; in 2009, he released his first solo self-titled nugget for Castle Face Records, the label operated by John Dwyer, formerly of nouveau garage-noise innovators Coachwhips. Now 22, Segall recently graduated from college with a degree in communications, just in time to get going with serious touring for his new solo record, Lemons, recorded for Eric “Oblivian” Friedl’s Goner Records in Memphis.

“I can’t believe Goner is releasing Lemons — the same label that put out Guitar Wolf and the Reatards,” Segall says. “I was shocked to get the phone call. John [Dwyer] passed some stuff I was working on to Eric at Goner; I E-mailed them, and that was it. That’s insane. That kind of thing doesn’t just happen, but here we are.”

Two solo records recorded for two of modern garage rock’s crowned heads before the age of 25 is no small feat. But Ty Segall is the real deal, playing every note with the kind of passionate, sweaty, hormonal swagger brandished by the best of the black- leather rockabilly cats of yore.

"John [Dwyer] passed some stuff I was working on to Eric at Goner; I E-mailed them, and that was it. That’s insane. That kind of thing doesn’t just happen, but here we are.”

Like his first solo foray, Segall plays nearly every note on Lemons. But whereas his self-titled release was truly played as a one-man band (i.e. recorded with guitar in hand at a drum kit) — resulting in the kind of spastic, sleazy madness that can only come from the peaked crash-and-burn pace of a fevered mind set in full motion — Lemons favors cleaner production, more cohesive songwriting, and more varied song styles. However, at the core of everything here is the cranked Hasil Adkins bender-bash Ty Segall has come to call his own.

“I like to think this record is a little more serious,” he says. “I really tried to work on writing what I think are better songs and to get a wider range of sounds. The production is a lot less ‘garbage-can rocky.’ Not that there’s anything wrong with that; I just wanted something new and more dynamic.”

The results on Lemons cut a wide swath, pulling equal doses of tumbledown, back-porch rockabilly, swampy country blues, and rocket-fueled basement-punk-show frenzy. The rhythms are simple and familiar: he is, after all, playing all this himself, and should you venture out to see him live, you’ll see one man, one guitar, and one altered drum kit playing everything you hear here (though he has been known to play with friends backing him up).

But there’s a primal, heady momentum injected into these songs that’s a rare find in today’s slick, Pro Tools world. From the first bucket-beat fuzz-tone crackle and ghastly wail of the opening track, “It #1,” Segall’s genuinely unique voice, which is a rare and important aspect for any rock band, shines through.

The sheer variety of rock styles covered in less than 30 minutes is staggering, but it flows brilliantly, with each diversion bearing Segall’s trademark sonic stamp.

“Lovely One,” with its heart-beat drumming and keening backwoods Everly Brothers refrain, begs for some action on the dance (or basement) floor, while “Can’t Talk” is a spastic-lamentation, Mod-style rave-up. “Rusted Dust,” with its eerie falsetto vocals, calls to mind a lonely escaped convict, pining out of a boxcar somewhere on the prairie. Some of his greatest moments are without Segall’s otherworldly croon, such as instrumental “Untitled #2,” with its jungle drums, acoustic acrobatics, and creeping bass riffs slipping past at breakneck speed.

Though the record isn’t without its missteps (the unnecessary Captain Beefheart cover, “Dropout Boogie” comes to mind), Lemons is a glimpse at what one can only hope turns out to be a lengthy and fruitful career, and at 22, Segall ought to have plenty left in him.

Joanna Wecht: DeVotchKa concert poster

Originally drawn to art by her intrigue with fashion design, she quickly realized her lack of technical skill. “I couldn’t sew any two pieces of fabric together with any degree of talent,” Wecht recalls. Thus she went on to study graphic design at the Savannah College of Art and Design, where her initial fascination with textures and fabrics in fashion helped her to create a unique style within the context of design and illustration.

She became more interested in collage work and the process of creating handmade pieces – an element that clearly stands out in her posters. “There are no rules,” Wecht says regarding the format and layout for her posters.
 

"I like strong women and the idea of a firm, ladylike hand in my imagery – but I don’t need to make any kind of political statement."

Though she has gained more confidence in her digital-art abilities within the past few years, Wecht continues to work primarily by hand, using the computer as a helpful tool when necessary. Her pieces channel the cut-and-paste aesthetic of DIY culture, but they also reflect Wecht’s sophisticated style and edgy design.
 

Joanna Wecht: Jay Retard concert poster

“I find images and use them to make new images," she says. "I am not after any kind of reality but more a sort of imagery that creates a feeling or emotion — in much the same way that music isn’t literal but more a mental and emotional force. I try to make images that make an impact on your brain, way in the back, and not just on your eyes.”

Bright, humorous, and provocative, Wecht’s posters are an exclamatory assortment of collages. The work – much like the artist herself – is full of enthusiasm and sass, veering towards the slightly outrageous. Wecht utilizes retro imagery of iconic female faces and figures to create loud, vibrant rock posters. The found imagery is manipulated and placed within a new context, where Wecht is certain to pay astute attention to typographic detail.
 

Joanna Wecht: The New Pornographers concert poster

“I like strong women and the idea of a firm, ladylike hand in my imagery – but I don’t need to make any kind of political statement," she says. "A girl has curves and sass, and music makes a man move in different ways than a lady. We have seen enough of how the boys move, so I don’t need to add to that. That has been covered to death. Let them keep covering it, and I will try my best to do something different. And damn the consequences, if any. Right? Right.”

Memphis, Tennessee's Goner Records specializes in punk, soul, blues, funk, and heavy-metal LPs and 45s, with a label that is home to some ALARM favorites. What other record store can boast its own annual rock-'n'-roll festival exhibiting bands from all across the globe?  Shop owner Eric Friedl (of The Oblivians) spoke with ALARM and shared the story behind Goner.

Goner Records co-owner Eric Friedl holds Junkpile Jimmy: Alberhill (self-released)

Store manager John Hoppe holds James Arthur: Manhunt (Aarght Records)

Zac Ives holds NoBunny: Love Visions (Goner Records)

Give me three great albums that you've enjoyed lately.

- Bill Orcutt: Way Down South (Palilalia, 2010)
- Travis Wammack: Scr-Scr-Scratchy! (Zu Zazz, 2000)
- Soft Boys: Underwater Moonlight (Armageddon, 1980)

Which albums has your store sold the most over the past month?

The new NoBunny LP on Goner, the Cheap Time live LP, and the Personal & The Pizzas' Raw Romance LP have been the best-selling over the last month.

What's the worst album that you've had to special order?

Hmmmm…the only bad records are the ones you don't want to order and then never sell.  We ordered a KC & The Sunshine Band greatest-hits CD for the owner of our favorite fried-chicken place in Memphis (Uncle Lou's) and then never got it to him…but that's not that bad. Maybe a Tool LP? We ordered a Tool LP for a tool and he never bought it. That's pretty bad.

Why do people choose your store over major or Internet retailers?

Prompt service, strange stock, individual taste in what we have in the store, good prices — I think a little bit of all of these.

Ty Segall is one of our favorites. Who are some of the newest people you’ve released on your label?

Ty is great! [He's] hard-working, and he recently seemed to get to a whole new level of intensity live! His band killed it at our last Gonerfest.

The latest Goner releases have been Limes (Memphis oddball, strange-country-ish rock), King Lee with Quintron (tire-shop salesman talking about his coworkers over a synth jam created by Mr. Quintron in New Orleans), and NoBunny (bunny-masked, sugary-pop, garage-rock genius).  Next up is John Wesley Coleman, an eccentric guitarist/songwriter from Austin, TX. He's also in the Golden Boys. He is great. He has a song about basketball called "Oooh Basketball." You'll love it.

What’s Gonerfest?

Gonerfest is our annual festival in Memphis, TN where we invite a bunch of bands from all over the world to come and play and eat over an extended weekend.  This past year we had bands from Ireland, Japan, and England, three bands from Australia, and 36 other bands from all over the United States. It's small, it's sweaty, and it's fun. Plus Memphis has fantastic food and the best barbecue in the world.

Our first festival had Black Lips and King Khan & BBQ Show and progressed from there. Bands who have played over the years include Jay Reatard, Oblivians, Guitar Wolf, Ty Segall, Oh Sees, Pierced Arrows, Eddy Current Suppression Ring, NoBunny, New Bomb Turks, and hundreds more.

We just held Gonerfest 7 at the end of September. After a complete recovery, we'll start planning our next one, which will be held September 22-25, 2011.  Hope you can make it out to Memphis!

Photo By: Bryan Sheffield

Chicago turns into a punk rock haven this weekend for the 4th year in a row with the return of Riot Fest. 40+ bands will be playing throughout the weekend at the Double Door, House of Blues, the Cobra Lounge, and an all ages show Sunday at The Congress Theater. The line-up is filled with a diverse mix including the reuniting of ALL. Also on the list are Jay Reatard, Horrorpops, Paint it Black, and Reagan Youth among others.

ALARM's Picks:

Horrorpops (Sunday @ Congress Theater): Danish pyschobilly three-piece hits the main stage Sunday as part of their supporting their recent release Kiss Kiss Kill Kill (Hell Cat). Featuring Patricia Day's sultry vocals and Kim Nekroman's "coffin bass," their Chicago stop on their "All Hallows Eve Tour" will undoubtedly put concertgoers in the mood for Halloween.

Lawrence Arms (Friday @ HOB): Outspoken Chicago pop-punk trio headlines House of Blues on opening night, launching the festival with their rowdy

D.O.A.: (Sat. @ Double Door, Sun. @ Congress): With 30 years behind them and no signs of slowing down, the legendary Vancouver hardcore trio, led by Joey "Shithead" Keithley, are one of the most anticipated acts of the weekend.

Paint it Black (Sunday @ Congress): Fronted by Dan Yemin of Lifetime/Kid Dynamite fame, the Philly-based hardcore quintet hits the Congress Theater in time to help close out the festival.

Municipal Waste (Sunday @ Congress): If you haven't been to one of Municipal Waste's shows, you might not know that this trash band is Out. Of. Control. Bring a diaper and be ready to take a ride on the "wall of death."

Riot Fest: www.riotfest.org/